PRICE TWEMTY-FIVE CENTS 




SOME NEW PLAYS 

*MOLLY BAWN, 35 cents. A comedy drama in 4 acts, by Marie Doran. 
7 male, 4 female characters (or by doubling, 5 male and 3 female). 1 ime, about 2 
hours. Based upon incidents from a story by ''The Duchess." 1 he story is woven 
about Eleanor Masserene {Molly Ba^vn), whose mother eloped with a young Irishman, 
which has so eml)ittered her grandfather that he disinherited her. After many years 
of loneliness he sends for Molly. How the coquettish heiress wins the hard, old man, 
is worked out in the play sometimes in a comedy setting and again in strong dramatic 
tenseness. $10. 00 royalty per performance by amateurs. 

-^UNACQUAINTED WITH WORK; or. Married la Thirty 

Days. 25 cents. A comedy in 5 acts, by O. E. Young. 6 male, 6 female charac- 
ters I interior scene. Time, 2 hours. Charles Chester, a young man of leisure, 
succeeds in running up several bills. At last his landlord, /«<r^^ Sharp, threatens to 
imprison him unless his board bill is paid. His aunt's promise to help him out for the 
last time if he marries within thirty days forces him to propose to every girl he meets, 
which naturally gets him into more trouble. Through his effort to get out of the 
tangle many funny situations arise. Among the characters are a very funny chambei- 
raaid and her sweetheart, a darkey cook, a comical bellhop, a clever detective, etc. 

-^WAIT AND SEE. 25 cents. A comedy-drama in 3 acts, by Helen C. 
Clifford. 7 males, 7 females, i easy interior. Time, i^ hours. At a week end 
party one of the guests endeavors to purloin an important document, compelling a girl 
over whom he believes he has control to assist him. While they are trying to open the 
«;afe they are discovered by the butler who proves to be an old trusted retainer of the 
girl's father. Although the man tries to fasten the guilt upon the butler and the girl, 
he is unsuccessful and a happy climax is reached. Among others it has|an excellent 
soubretie role. 

'A'WIVES'^ON A STRIKE. .25 cents. A comedy in 3 acts, by Lillian 
SuiTON Felee! 6 male, 7 or mure female characters. Time, 3 hours. 3 interior 
scenes. Costumes varied. At a meeting of the Wives Welfare Club, it is decided to 
"go on Strike" and }ane Spink is to make the test case. The wives' grievances 
greatly amuse Betty, a bride of 30 days, who boasts of her husband's angelic qualities. 
Her first offence of having supper late causes such a row that Betty also decides to 
•'go on strike." Betty''s scheme to make her husband change his set ideas about 
woman s rights is the cause of all the mix-up. How the strike is won and the hus- 
bands taken back is cleverly depicted in theplay. A parrot who swears at the right 
moment adds to the funny situations. 

*HIS SISTERS. 25 cents. A farce in i act; by Beulah King. 1 male, 
and 8 female characters : or 9 female characters as the male may easily be impersonated 
by a female character, i interior. Time, 30 minutes. Three sisters, who adore their 
handsome older brother, secretly plot to have him marry their particular friends* 
How their plans are all upset and matters finally smoothed out is cleverly told in this 
play. 

^SUITED AT LAST^ 25 cents, a sketch in i act, by Elizabeth 
"Urquhart. 7 females and a discharged soldier. i interior. Time, about 40 
minutes. Dorothy, a newly-wed wife, is in search of a cook; her mother, her chum, 
her Aunt Jane give much advice as to how she shall interview the various applicants, 
in fact, so much so, that Dorothy \?> utterly confused and finally engages just what 
her husband has advised from the beginning. 

*ENCORES AND EXTRAS. 35 cents. a collection of short mono- 
logues suitable particularly for encores, but are available for any occasion to fill in for 
a few minutes ; contains black-face, Hebrew, a fond mother, a rube monologue, etc 

*GORGEOUS CECILE. The. 25 cents, a com.edy in 3 acts, by 
Beulah King. 4 male, 5 female characters, i interior. Time, 2 hours. Max, the 
son of a wealthy widower, notwithstanding the schemes of his father and aunts, has 
remained obdurate to all of their matrimonial plans. Upon his return home for a 
visit, he finds, as usual, a girl whom it is hoped will subjugate him, but the hopes are 
frustrated, as it is " The Gorgeous Cecile" to whom he turns._ The parts are all good 
and well contrasted, with sparkling dialogue and plenty of action. 

• MADAME G. WHILIKENS* BEAUTY PARLOR. 2S cents. 

An original entertainment in 2 acts, by Viola Gardner Brown, for 12 (or less) female 
characters, i interior scene. Time if played straight about 50 minutes. A very comi- 
cal travesty on a beauty parlor during a busy day. Introducing amon^others^ Frencbj 
Irish, colored, rube character, two salesladies, all Strongly contrasted. 



THE 
FOUR ADVENTURERS 

A COMEDY FOR GIRLS 



By 
KATHARINE KAVANAUGH 

Author of "A Gentle Touch,'' ''A Stormy Night,'' "The 
Wayfarers," "A Bachelor s Baby," "A Converted 
Suffragist," ''A Friendly Tip," etc. 



Copyright, 1922, by 
Fitzgerald Publishing Corporation 



^S|? 



Fitzgerald Publishing Corporation 

Successor to 

Dick & Fitzgerald 

18 Vesey Street New York 



p^.' J >> -^ x^ ^ 



^a'j 



n ii20tt6 



SEP 30 1922 



^^ I 



Note. — ^The Moving Picture and Professional Acting 
Rights of this play are expressly reserved by the pub- 
lishers, to whom theatrical managers who wish to produce 
it should apply. Amateur representation may be made 
without such application and without charge. 



The Four Adventurers 



CHARACTERS 

Anne Warwick I'lie artist 

May Stevens The writer 

Nina Wilcox The cook 

Virginia Vale The pest 

Time. — The present. 

Locality. — Anywhere. 

Time of Playing. — About half an hour. 

SYNOPSIS 

Nina, the cook, plans a surprise for supper, a Welsh 
Rarebit, which doesn't materialize; burnt toast and 
liquid cheese instead. Virginia tells her experiences 
while looking for a job ; the girls tease her about it, so 
to get even she raves about good things to eat. When 
Virginia sees how determined the girls are to stick to 
their careers she betrays them to the enemy, ^' their 
sweethearts." Then dreams come true. Careers for- 
gotten. Everybody happy. 



The Four Adventurers 



COSTUMES AND CHARACTERISTICS 

Any appropriate dresses can be worn by the girls, but 
not too elaborate. 

Nina wears a large gingham kitchen apron. 

Virginia wears a street costume. 

Anne wears a large artist's apron. 

Hats, wraps, etc., for other girls are to hang on the 
costumer. 

INCIDENTAL PROPERTIES 

Several plates and a chafing-dish for Nina. Other 
properties, as mentioned in scene. 



STAGE DIRECTIONS 

As seen by a performer on the stage, facing the audi- 
ence, R. means right hand; L. left hand; c, center of 
stage ; D. c, door at center ; d. l., door at left, up means 
toward back of stage ; down, toward footlights. 



The Four Adventurers 



SCENE. — Living-room of a flat. Afternoon. Doors at 
left and in center. A table with white cloth up c. 
Writing-table or desk down r. An artist's easel 
and unfinished picture down l. A couch or large 
chair with several sofa pillows near c. A telephone 
is put wherever most convenient, up r. is a cos- 
tumer on which there are several hats and coats be- 
longing to the girls. A book-shelf with books up 
stage. Several plates and kitchen utensils on table 
c. On writing-table or desk are a number of loose 
sheets of paper and a typewriter. DISCOVERED 
— May at desk, writing; Nina is at table c, with 
back to the audience, engaged in getting a meal 
ready; she rattles the plates noisily. May looks up 
impatiently, then with a sigh resumes her work. 
Nina drops a pan and picks it up. 

Anne {turns nervously and looks impatiently at Nina, 
who throws the plates into the pan, making more noise). 
Oh, I say, Nina, can't you get a meal without bringing 
down the house? How do you expect any one to work? 

May. I've written the same sentence four times, and 
I've got my characters so mixed that I've lost the thread 
of my story. 

Nina. See here, when I took this job as cook because 
nobody else wanted it, I didn 't agree to be noiseless. 

Anne. My dear, don't worry, you are far from it. 

May. Neither did you agree to slam a pan every time 
my heroine came on the scene. Every time I feel that I 

5 



6 The Four Adventurers 

have reached a beautiful situation, or one of my charac- 
ters is about to sa.y something worth while, bang ! comes 
the rattle of a frying-pan or fhe smashing of a couple of 
plates. By the way, how many dishes have we left? 

Nina. Three plates, two cups and three saucers 

Anne. But if we have only two cups we can 't use the 
other saucer. 

Nina. All right, I'll break it. {Turyis up stage) 

Anne. No, no; you needn't mind; it will be broken 
in good time. By the way, what is all the racket about 
— what in the world are you giving us for supper ? 

Nina. I am not going to tell. It 's a secret. 

May. It must be something awful when you are 
afraid to tell. 

Nina. Who said I was afraid? That's the thanks I 
get for my trouble. I was going to give you a pleasant 
surprise. 

Anne. A surprise ? Oh, Nina, what is it ? 

May. I'm going to look. {Starts to rise) 

Nina. It isn't in here. I was afraid you'd smell it, 
so I kept it in my room. 

Anne. What will Jinny say to that ? 

Nina. Who, the pest? Oh, she won't mind. Do I 
complain when she makes fudge? It is my room as 
much as hers. 

May. Yes, it's a fortunate thing for Anne and me 
that we room together. Neither one of us cooks, thank 
heaven. 

Nina. No, but you are always ready and willing to 
eat when Jinny and I cook. Of course the Pest can't 
make anything but candy. Fni the only cook in the 
establishment ! 

Anne. And what a cook ! 

Nina. Well, I reckon I 'm about as good a cook as you 
are an artist, or May is a novelist ! I dispose of my 
products. That's more than either of you do. 

May. Well, I never! Wasn't my story, *'When 
Love Triumphs " simply grabbed up by the Universal 
Magazine ? 



The B;our Adventurers 7 

Nina. That was three months ago, and it brought 
ten dollars. You haven't earned a penny since. 

Anne. Why, Nina, you forget the fact that May 
writes up all the society functions for the Morning 
Globe. 

Nina. Oh yes, I know. (Imitating) ''Mrs. Jones 
looked sweetly beautiful in a gown made of lavender 
chiffon cloth trimmed with silver." (May throws a sofa 
pillow at Nina, wJio ducks it) 

ENTER Virginia c. d. 

Virginia. Hello, a scrap going on and I not in it? 
That will never do. 

Anne. Hello, Jinny, where have you been all the 
afternoon ? 

Virginia. Miss Warwick, I would beg of you to re- 
member that my name is not Jinny. Neither is it ''the 
pest." Miss Virginia Vale, if you please. (May, Anne 
and Nina all stand and how very gravely before Vir- 
ginia) 

May. We are groveling in the dust. Miss Vale. 

Nina. Henceforth we shall rise in a body and salaam 
whenever you favor us with your august presence. 

Anne. After so debasing ourselves, may we ask where 
you have spent the afternoon ? 

Virginia. You all think you're funny, don't you? 
Well, I'm not going to tell you. 

Anne. Jinny — pardon me, Virginia, — you are our 
youngest child, and we must keep an eye on you. You 
have been away several hours. I speak as a mother, 
where have you been? 

Virginia. Oh, you all make me tired. I reckon 
you 're going to be some surprised when I tell you ! 

May. Virginia, you look guilty. You haven't been 
doing anything you shouldn't? 

Virginia. I've been looking for a job. 

Anne. You should say you were seeking a position, 
little one. 



8 The Four Adventurers 

^, 

Virginia.. No, I shouldn't. I gave that up weeks 
ago. It was a plain job I was after, and I almost got 

it. 

Nina. You almost got it? That remnids me of a 
man who almost had a horse. He said to the owner, 
*' Mister, can I have that horse?" The owner said 
''No." If he had said "Yes," the horse would have 
been his. (May and Anne laugh) 

Virginia {looks angrily at Nina). Think you're 
smart, don't you? Wait until the next time you want 
to make a Welsh Rabbit in our room. I'll throw the 
chafing-dish at you. 

May. No, not the chafing-dish, Jinny. It cost six 
dollars. If you must throw something, throw the coffee- 
pot. 

Anne. I object. That coffee-pot belongs to me. 

Nina. Oh, she's only trying to get out of telling us 
where she has been, and about the job she almost got. 

Virginia. I am going to tell you, and I hope you'll 
all be properly impressed. I could have made my debut 
as an actress. 

May {surprised) . On the stage? 

Virginia. No, dear, in a laundry. 

Nina. You went to a theatre this afternoon? 

Virginia. Yes — in the back way — the stage door they 
call it — just like a regular actorine. Oh, I felt so thrilly 
when I went in. 

Anne. Yes — and then? 

Virginia, And when I got in I was half scared to 
death. Oh, girls, it looks so different from what you 'd ex- 
pect. There was no performance going on, but the man 
at the box-office told me I would find the manager on the 
stage, so back I went. He was rehearsing a number of 
people for the street scene in the play to be put on next 
week. The stage was bare and there was very little 
light. I looked around, and there was nothing but bare 
brick walls, dingy staircases, and stacks of dusty 
scenery. I looked up, and over my head there was more 
scenery on ropes and pulleys, the kind they drop and 



The Four Adventurers 9 

pull up. Then I looked out into the auditorium at the 
rows and I'ows of empty chairs, and I fancied myself 
going out before all those chairs filled with people and 
have them stare back at me 

Nina. The chairs, dear? 

Virginia. No, the people. The thought frightened 
me, so I turned around and walked out without asking 
the man for a job. 

Nina. Very much like my horse story, indeed. 

May. Except that the man did ask for the horse. 

Virginia (looks at them as if hurt by their teasing, 
and turns from them, her arm up to her face to hide the 
tears). You all think you're funny, don't you? 

Anne (goes to Virginia, puts arm around her). No, 
darling, we didn't mean to hurt you. Come, tell Anne 
all about it. We were only teasing, dearie. 

May. Don't cry. Honey-bee, Nina is going to give us 
something great for supper. 

Virginia {drying her eyes). I did so want to be an 
actress. 

Nina. Never mind. Jinny. It wasn't the psycho- 
logical moment for your appearance. Some day your 
name will be strung in electric lights across the front of 
the theatre 

Virginia. They don't use electric lights in the day- 
time. 

Nina. Well, I should say some night — and Anne and 
May and I will drive up in a limousine 

Anne. Whose ? 

Nina. I declare, you people have no more imagina- 
tion than a door-knob. What difference does it make 
whose it is, so that we drive up in it ? 

May. Eight-o. Why look a gift horse in the mouth ? 

Nina. I am only supposing a case. 

Anne. Please suppose something more within the 
realms of possibility. Even in my wildest dreams, I 
cannot see myself driving up anywhere in a limousine. 

Nina. Anne, for an artist, you exhibit a hopeless lack 
of imagination. 



10 The Four Adventurers 

Anne. And for a cook, you exhibit a hopeless lack of 
food. Where is that supper f 

Nina. Good heavens, the supper! I forgot it. It 
was in the other room. 

Virginia. It was in the other room? Where is it 
now? 

Nina. It may be there still, but I have me doubts. 

[EXITS quickly d. l. 

Anne. I just feel as if there is a disappointment in 
store for us. 

May. I am prepared for the worst. 

Virginia. And I'm as hungiy a§ a bear. (Sniffs) 
I smell something burning, don 't you ? 

May. I have been smelling that for some time, but I 
thought it was Anne's water-colors. 

ENTER Nina at d. l., carrying a steaming cJiafing-dish. 

Nina (places chafing-disli on table witli plate under it, 
blows on her fingers). Merciful heaven, it was burning 
like a furnace! 

Anne, But what is it? 

Nina. It was a Welsh Rarebit! 

Anne. Why do you keep saying ''it was'*? Isn't it 
there now? 

Nina. I 'm afraid to look. 

Virginia (disgusted) . A Welsh Rarebit for supper! 

Nina. Well, you are all crazy about it, aren 't you ? 

Virginia. In my present state of health I would pre- 
fer some good corn beef and cabbage. 

Nina. Would you scent the whole apartment with the 
odor of cabbage? 

Virginia. Well, when it comes to that, a Welsh Rare- 
bit is no geranium. 

May. Will you girls stop chattering and give us some- 
thing to eat? I'm slowly dying of starvation. 

Virginia (takes cover from chafing-dish). Nina is 
chief cook and bottle washer ; I am simply the waitress ; 
I can only serve what she cooks, and from the looks of 
this dish, she has cooked you nothing. 



The Four Adventurers 11 

May.^ 1 ^-o^^ing! Oh, Nina. 

Nina. My intentions were good. 

Virginia. But we can 't eat them. This looks as if it 
might once have been a perfectly good Welsh Rarebit. 
{The four girls gaze mournfully into chafing -dish) 

Anne. It looks to me like four pieces of badly burnt 
toast. 

May. With a little bit of liquid cheese still clinging 
to them. 

Virginia. You know what it reminds me of? 

Nina. What? 

Virginia. One of Anne's sunsets. 

May. What are we going to do with it? 

Virginia. Frame it as a testimonial to Nina. 

Anne. One Welsh Rarebit for four hungry girls ! 

Nina. Oh, you people are never satisfied. 

May. If this inward craving I have isn't soon satis- 
fied, I'll die on the premises. I know I will. 

Virginia. Oh, for a large rare porterhouse, with 
mushroom sauce. 

Anne. Jinny, stop that ! {Sits) 

Virginia. With a large platter of potatoes au gratin. 

May. You pest, if you don 't stop this minute 

{Sinks into chair) 

Virginia. Lettuce salad with mayonnaise dressing. 

Nina {weakly). Oh, Jinny, please. {Sinks into 
chair) 

Virginia. Home-made peach pie a la mode. 

Anne {dropping weakly into chair). Choke her, 
somebody. 

Virginia. Just a bit of Roquefort cheese with toasted 
crackers. 

May {sadly). She'll go on to the bitter end. 

Virginia. And then some coffee like mother used to 
make. 0-o-h! (May and Anne throiv sofa pillows at 
Virginia, who ducks) 

Nina {also throwing a sofa pillow at Virginia). You 
brute ! 



12 The Four Adventurers 

Virginia. How dost thou like the picture? 

Anne. If it were only real! Porterhouse! Ah! 

Nina. Now, Anne, don 't you start it all over again ! 

May. No, I for one couldn't live through it. I am 
starving. I must eat — who or what I don't care. 

Anne. Who? Good gracious, May, you're not that 
bad, are youf 

Virginia (getting behind chair). She said she was 
very fond of me the other day. I'm going to keep out 
of her way. 

May (laughing). Don't worry, Jinny. I'm afraid 
you wouldn't agree with me. 

Virginia. Do you know what the trouble is in this 
flat? 

Nina. No. What? 

Virginia. We need a man. 

Anne. To eat? 

Virginia. Good heavens, no. Can't your thoughts 
rise above food for a moment? 

Anne. I feel as if neither my thoughts nor myself 
will ever rise again. 

May. Well, if we can't eat him, what good is he? 

Virginia. And you a novelist ! 

Nina. Jinny means that if there was a man here he 
would invite us all to the Waldorf. 

Anne (wearily). I should be satisfied to go to Childs' 
restaurant around the corner. 

Virginia. No, you are all wrong. I mean that our 
way of living is wrong. Here we are, girls with com- 
fortable homes, with relatives to care for us if we will let 
them, living here from hand to mouth as it were, and 
each of us getting an incurable case of indigestion, — just 
because we think it is Bohemian. We thought we were 
doing something original when we started out to make 
our own living. Anne was going to be a great artist ! 
May wants to write wondei'ful fiction, and she spends 
half her time wondering where the next meal is coming 
from ! Nina was willing to be a concert singer, and see 
what she has come to. (Holds up chafing-dish) While 



The Four Adventurers 13 

I — ^well, I wanted to be an actress, and I was frightened 
by a row of empty seats! 

May. Even now, I don't see where the man comes in. 

Virginia. He can't come in, because we have forbid- 
den him. May, you told Jack Folsom that he must not 
interfere with your career, and he hasn't. Anne laid 
the law down to Jim Carter, who has wanted to marry 
her ever since she left off short dresses. Nina told Tom 
Norton that she was going to live for her art alone. 

Nina. And you? 

Virginia. And I gave poor Guy the shake because I 
wanted to go on the stage. 

Anne. Jinny. What abominable slang! The shake! 

Virginia. Well, that's what Guy called it. And now 
we've all got to go back and admit that we have failed. 
* Anne. Never. I, for one, will die first. What? 
Let Jim Carter have the laugh on me? 

Virginia. He won't laugh, Anne; he'll only be too 
glad to get you back. We have held out now much 
longer than any of them expected. 

May. Well, you may all go back on your agreement 
to stick, but I'll stay on if you all leave. 

Nina. I'll eat my own cooking before I 11 acknowl- 
edge Tom Norton was right and I wrong. 

Virginia. You are all determined to stick ? 

^^^ ] {standing together). Yes, all for one. One 

Anne V ^^^^ ^y[. In union there is strength. 

Nina ) , -, -^^ 

Virginia. Well, that settles it. I can't be a quitter. 
I'm with YOU. But it is only fair to tell you that I have 
called up* Guy this morning and told him the situation. 

I wouldn 't be surprised ( 'Phone hell rings, hiris 

pause and listen) 

Nina. Who can it be at this hour? 

Anne {looks at her luatch) . Exactly six p. m. 

Virginia {goes to 'phone). Hello. Yes. {Pause) 
Oh, hello, Guy. 

May. Guy ! The enemy are upon us ! 

Virginia. What's that? Dinner? 



14 The Four Adventurers 

Anne. Don't weaken, girls. 

Virginia {speaking into 'phone). Wait, I'll see. 
{Puts hand over receive?^ and turns to girls) It's Guy! 
Jack Folsom, Jim Carter and Tom Norton are with 
him. They want us to go to dinner and then to the the- 
atre. 

May. Jinny, you have betrayed us into the hands of 
the enemy. 

Virginia. But we'll be treated royally as prisoners 
of war. And, oh, girls, / am hungry. 

Anne. I haven't seen poor Jim for a month. 

Nina {delighted). Tom was always such a dear fel- 
low. 

May. I 'm just dying to see Jack Folsom. 

Virginia. Then you accept? 

Anne \ 

May ,^ {together). We do. 

Nina j 

Virginia. Hurrah! {Speaks irito 'phone) It's all 
right, Guy. We'll meet you at the door. {Pause) 
What? A limousine? {Hangs up receiver and turns 
to girls) Oh, girls, this is more than I can bear. They 
are going to call for us in an auto. 

Nina {clasping her hands). My dream come true! 

Anne {taking off her apron). Oh, mercy! I've for- 
gotten how to enter an auto. 

Virginia {gets Nina's hat from costumer). You back 
in, dear, like a horse. Here's your hat. {Throws hat 
to Anne, who catches it. Nina puts on Virginia's hat 
in the excitement of getting ready) 

May {hastily putting on her hat). I don't believe I 
have a pair of clean gloves. 

Virginia. I'll lend you a pair of Nina's. (Nina is 
wearing Virginia's hat) Nina, you've got my hat on. 
Here's yours. {Exchange hats. Girls move around 
lively while getting ready) 

Nina. Are we coming back here any more? 

Virginia. No, after the play we are all going home. 

Anne. What shall we do with the flat ? 



The Four Adventurers 16 

Virginia. Turn it over to the landlady. She'll be 
glad to get rid of us. 
, May. We can send for our things to-morrow. 

Nina. So our Bohemian days are over. 

Virginia. Yes, get together for the last farewell. 
(Girls stand close together, their arms over each other's 
shoulders, and sing) "Good-bye forever — Good-bye 
forever — Good" — {or any other appropriate farewell 
song. This is a good opportunity for the girls to intro- 
duce some pretty song which they can almost finish, the 
interruption being made near the end. Telephone hell 
rings and interrupts the song. Virginia runs to 'phone) 
Hello. . . .Yes, in a few minutes! {Hangs up receiver) 
The boys are at the door! (Girls turn up stage, one 
behind the other, Virginia leading, their hands on each 
other's shoulders. Virginia sings) Follow me — follow 
me — I don't know where I'm going, but follow me. 

A \ {singing with Virginia). We don't care 

Nina \ where you're going, we'll follow you. 

{All Girls EXIT c. d. singing) 



QUICK CURTAIN 



*COMMODORE, THE. 25 cents, a comedy in 3 acts, by Emabtvu 
Osgood. 6 males, 4 females. 2 interiors. Time, 2 hours, A very noTcl plot, worked 
out in an original manner involving the transfer of a large block of mining steck in 
which transaction the commodore assumes the role of a protecting genius. The dia- 
logue is particularly bright, flows naturally and leads up to an unexpected climax, the 
suspense being sustained until final curtain. Amateur performances free. Professional 
acting rights upon application. 

•MORE MONEY THAN BRAINS. 25 cents, a comedy in 2 acts, 
by Percival P. Hall. 7 male, 2 female characters, i interior. Time, about 50 
minutes. Pierre, a struggling artist, short in money but "long" in debts is induced 
by his friend Harry to have his wealthy but "close" uncle informed of his sudden 
death ; Harry hoping by this ruse to extract some funds from uncle. The funds were 
found but not where Harry expected. Introduces a typical street urchin; an Irish 
boarding-house landlady, a second hand clothier of the Hebrew type, etc. 

•POOR DEAR UNCLE JAMES. 25 cents. a farce-comedy in 3 
acts, by Beulah King. 3 male, 6 female characters, i interior. Time, i^ hours. 
An exceedingly bright and breezy comedy showing what influence passed-away Poor 
Dear Uncle fames had upon the marital fortunes of Frances and Brice. Introduces 
among others, a girl of 15 and a youngster of 12. The dialogue is very bright and the 
jiction continuous. Highly recommended. 

*BAD BEGINNING, A. 2S cents, a comedy in I act, by^ Ernest 
Grant White. 4 male, 2 female characters. i interior. Time, i hour. Stephtn, 
a Nevada ranchman, cornes to New York expecting to marry a society girl but is 
"turned down cold." While preparing to return West immediately, his suite is entered 
by, Ann: he assumes her to be a thief and engages her in conversation while deciding 
what disposition to make of her, and becoming interested loses his heart on the re- 
bound. How it results shows that frequently at least "A Bad Beginning makes a good 
ending." A particularly effective sketch, and not "over the heads of beginners," is 
highly recommended to amateurs of some experience. 

•DR. UMPS. 25 cents. A farcical prescription in i dose, by Erastus 
Osgood. 2 male, 2 female characters. 1 interior. Time, about 40 minutes. John 
has become a fault-finding and irritable husband. In order to reform him, Marjory 
his wife, by means of suggestion makes him believe he is near a nervous break-down' 
Under the assumed name of J)r. Umps, she calls in her school pal, Mrs. Small. The 
routine through which Dr. Umps puts/aAn is screamingly funny, and is so successful 
ia its results that Marjory is absolutely satisfied with her attempted reformation. 

' PHARAOH'S KNOB, 2S cents. A comedy in x act, by Edith J. 
Crainb. 1 male, 12 females. Time i hour. Lieut. Kingston^ in love with Elizabeth 
/ones, is repulsed by her mother, who does not approve of penniless soldiers. Th» 
Lieutenant finds an iridescent knob and is seen by a credulous bell-hop, and for fun h» 
tells her a fake story as to its value. This story travels rapidly among the hoUl 
guests and as soon as it reaches Mrs. Jones' ears, her antipathy to the ofUcer disa|K 
pears. Eventually it becomes known that the knob belongs to an antique cabinet, but 
before this discovery is made, the Lieutenant and Elizabeth have been married; w 
^i^\ -JV"^ \^'^ *° approve. Introduces a clever girl bell-hop and hotel clcrk, a fcnud* 
Sherloek Holmes and her admirer, besides other hotel guests. 

* WHOSE WIDOW? 25 cents. A comedy in i act, by Helen C. Clif- 
ford. 5 males, 4 females, i interior. Plays about 50 minutes. Marcella, a young 
Western girl, arrives at her aunt's wearing a widow's gown, much to everyone's sur- 
prise this she did to gam more freedom, She assumes the name of Mrs. Loney and 
to her horror IS soon made acquainted with persons of that name, presumably relatives 
ofheral eged husband. The husband appears in the shape of an impostor and de- 
mands blackmail, but his plan is foiled, and after many comical incidents if/ar<r///tf 
tinds her match. The dialogue flows naturally and brightly, and the action is contin- 
uous. Recommended for schools. 

•ALICE'S BLIGHTED PROFESSION. ' 25 cents, a sketch in x 

act, by Helen C. Clifford, for 6 or 8 girls, i interior. Time, about 50 minutes 
^//<r^,achentless young lawyer, seeking a stenographer, has several applicants, but 
none gives satisfaction It "eventually develops that all the applicants were disguised 
school friends of Alice's and adopted this method to induce her to give up the pro- 
fession, which she doe.s. Recommended for schools. f i- *» 

*HER VICTORY. 25 cents, a sketch in I act, by E. M. Crane, for 

17 female characters. Scene, interior of an artist's studio appropriately furnished, 
and arranged with such properties as are readily available. The number of character^ 
may be cut ; or several may double. Specialties, local hits, etc., may be introduced. 
An episode of a girl s colony m far-famed Greenwich Village of New York Citv 
showing a.bit of the trials and tribulations of a hard-working class of girls. Intril 
duces an illustrator, a "Movie Queen," a darky mammy, a daughter of Erin. etc. 
Oivs'S ereat scope for character portraval. x**., c»t. 

a ' ^PAME G. WHILIKENS- BEAUTY PARLOR. 25e«nta 

An original entertainment in 2 acts, by Viola Gardner Brown, for 12 (or less) female 
characters 1 interior scene Time if played straight about 50 minutes. A very comi- 
cal travesty on a beauty parlor during a busy day. Introducing among others. FreaS. 
Irish, colored, rube character, two salesladies, all strongly contnwted. * ^ '^•n«» 



PLAYS WE RECOMMEND 

Fifteen Cents Each (Postage, 1 Cent Extra) 



Unless Otherwise Mentioned 



Acts Males Females Time 



Arabian Nights 
Bundle of Matches (27c.) 
Crawford's Claim (27c.) 
Her Ladyship's Niece (27c.) 
Just for Fun (27c.) 

Men, Maids, Matchmakers 
Our Boys 
Puzzled Detective 
Three Hats 
Timothy Delano's 

Courtship 
Up-to-Date Anne 
White Shawl (27c.) 

Fleeing Flyer 
From Punkin' Ridge 
Handy Solomon 
Hoosier School 
Kiss in the Dark 
Larry 
Love Birds' Matrimonial 

Agency 
Married Lovers 
Ma's New Boarders (27c.) 
Mrs. Forester's Crusade 
New Pastor 
Relations 

Standing Room Only 
Stormy Night 
Surprises (27c.) 

Tangles (27c.) 

Little Rogue Next Door 
'Till Three P. M. 
Train to Mauro 
When Women Rule 
Won by a Kodak 
April Fools 
Fun in a Schoolroom 
Little Red Mare 
Manager's Trials 
Medica 

Mischievous Bob 
Cheerful Companion 
Dolly's Double 
Drifted Apart 
Gentle Touch 
John's Emmy 
Point of View 
Professor's Truant Glove 
Belles of Blackville 
Sweet Family (27c.) 

Conspirators (27c.) 

A Day and a Night (27c. ) 
Gertrude Mason, M.D. (27c.) 
In Other People's Shoes 
Maidens All Forlorn (27c.) 
Mary Ann 

Romance of Phyllis (27c.) 
Fuss vs. Feathers 
Tanglefoot vs. Per una 
Great Libel Case 



Farce 
Comedy 
Drama 
Comedy 



(27c.) 



Farce 

Comedy 

Farce 

Drama 
Farce 



Comedy 
Farce 

Sketch 

Farce 

Comedy 

Farce 



Comedy 
Farce 



Comedy 
Dialogue 



Minstrel 

Entertainment 

Comedy 

Farce 
Comedy 



Mock Trial 



4 
1 
9 
4 
2 
4 
6 
6 
5 

2 
2 
3 
4 
6 
2 
5 
2 
4 

3 

2 
4 
1 
2 
3 
3 
8 
2 
4 
2 
2 
2 
2 
2 
3 
4 
3 
9 
7 
6 

1 
1 
1 
1 
1 
1 









4 
7 
21 



5 

7 
3 
4 
4 
4 
4 
3 
4 

3 
8 
3 
8 
3 
2 
6 
3 
4 

4 
4 
4 
2 
2 
1 
1 
1 
3 
2 
S 
1 
1 
4 
3 






2 
1 
1 
1 
1 
1 
1 
any no. 
8 
12 
10 
7 
8 
6 
5 
4 
4 
18 




2y4h 
iy2h 

iy2h 

2h 
2h 
2h 
Ih 
2h 

Ih 
Ih 
iVah 

ly^h 
iy4h 
20m 
30m 
45m 
46m 

80m 

45m 

80m 

80m 

80m 

20m 

85m 

40m 

80m 

80m 

40m 

20m 

15m 

15m 

50m 

30m 

40m 

85m 

45m 

85m 

40m 

25m 

20m 

80m 

30m 

20m 

20m 

20m 

2h 

Ih 

40m 

Ih 

80m 

60m 

ly^h 

80m 

ly^h 

80m 
iy2h 
2h 



NOTICE 



015 973 828 



Fraternal and Secret Societies 



9f 



"INITIATION STUNTS 



By Lieut. Beale Cormack 

A collection of side degree stunts, initiations, yells, 
cheers, toasts, etc. Also complete side degree works 
v/hich can be used as guides in forming other fraternal 
societies. 

CONTENTS 

Part I 

Fraternity Advantages 

Names for Social Clubs and Fraternities 

Slogans and Mottoes 

Greek Letter Societies 

Reason for Rough-House Initiation 

Yells 

Songs 

Pledge Stunts 

Fraternity Toast 

Part II 

Greek Letter Fraternities 

Side Degree "Eta Phi Mu" 

Oath 

College Yells and Cheers 

Miscellaneous Yells 

Banquet Toasts 

Hazing the Obstreperous 

Cloth Binding. Price $1.00. Postage 5c. extra. 

FITZGERALD PUBLISHING CORPORATION 

Successor to 

Dick & Fitzgerald 
.18 Vesey St., Nev/ York 



